VAN Morrison is certainly no Ken Dodd. Given what I’ve heard about his showmanship, so to speak, I fully expected him to come on stage, insult the audience and then sit with his back to us and play a set of songs off that dreaded ‘new album’ for 10 minutes and then walk off.
But no, Van the man, famed for his grouchiness and seeming antipathy towards his fans, was actually on relatively good form for his Empire gig on Saturday night.
Granted, he hardly spoke, but at least knew what everyone had come for and didn’t disappoint, playing some of the more famous of his songs from his 40-odd year career.
Here Comes the Night, one of his earliest hits with Them, opened up the action, with its anthemic, Rolling Stones-esque chorus. So far, so good – and he hadn’t walked off in a huff yet.
The band were stunning, a wonderful seven piece ensemble with piano, guitar, double bass, drums and brass section, as well as Morrison himself chipping in on sax and mouth organ.
The mood was laid back, and nearly every song took on a loungey, jazzy tone, including the wonderful Crazy Love, which moved along slowly, gently, like waves lapping up against a shore.
Similarly, Into The Mystic, washed over the 1,300-strong crowd like an incoming tide.
I had been afraid Morrison would go out of his way to play things no-one wanted to hear, the way Dylan sometimes does, but no: He even belted out Moondance itself, that wonderful jazz blues pastiche which I’ll forever associate with the film American Werewolf in London.
There were plenty of dewy eyes when he turned out Have I Told You Lately That I Love You, which was undoubtedly one of the biggest favourites of the show.
His voice was on fine form: That rambling, trademark Irish drawl, interspersed with high pitched wails and the odd bit of scat thrown in. This was, as much as anything, a jazz gig, and with such a tight, albeit restrained, band behind him, all the songs seemed to melt into one, yet each retaining their own distinct flavours that made them hits in their own right.
I think at one point, he may actually have spoken to the audience, but it was unintelligible.
But it didn’t matter – the audience was in the grip of a master, a master who, despite his best efforts to make it look to the contrary, almost seemed like he was enjoying himself.
9/10: Still the man
-Marc Waddington
James Tennant sent in the following review
After walking all the way down Dale Street in search of The Ship and Mitre pub, I quickly realised that we had been walking completely in the wrong direction! So it was with great desperation that I ordered my friend and I a much deserved pint and headed over to the corner to meet up with the many fans that had come to see Van Morrison perform at the Empire Theatre.
Discussions were positive about the previous concert in Birmingham and it seemed Van had delivered a good show. It was wonderful to meet everyone, what a great bunch of people they were! Stories were told and photos taken but it was soon time to start checking the watches and make our way over to the theatre.
The last time I had seen Van in Liverpool was in 2004 and I felt that the band had really hit their groove at that point. Van was very relaxed and the show just flowed. I thought we could be in for a good one but then I heard an announcement. The front of house manager stated sternly that the show would finish at exactly 9.15pm! Oh dear – Vans got a plane to catch! This doesn’t bode well. My friend told me to stop being negative and get a grip. Let’s get a whisky instead!
After a wee drop we took out seats. We were on the very back row but still had a great view thanks to binoculars! Almost immediately the band entered, there was a brief pause and the riff for ‘Baby Please Don’t Go’ began, the audience cheered in recognition, the lights began to fade. The riff continued but by this time the audience had stopped cheering. Where was Van Morrison? We waited some more then all of a sudden he was on. He was in fine voice although it was clear that something was not right. Van turned to the bass player and instructed him to change to upright bass, which he did – Mid song!
Next was ‘Here comes the night’, another crowd pleaser. The band settled in to find the groove but Van was still not happy. His arm gestures were very jerky and aggressive towards the drummer and Van was looking towards his roadie.
‘Moondance’ followed and whilst van was singing and the band took their solos, the roadies moved the guitarist closer to Van. It was after this confusion that Van picked up the sax and began to explore the music as the song was brought to its finish.
Oh dear – This was not a good start.
Well as luck would have it, ‘Fair Play’ was next. This was just wonderful; it ebbed and flowed, the band just pulsing along. Probably not the best version ever but it quickly made it clear that if this band continues with Van, they could be brilliant.
‘Magic Time’, ‘Have I Told You Lately’ and ‘Crazy Love’ added more quality to the mix. Vans voice really started to loosen up and although at this stage Vans singing had felt quite muted, it struck me that the tone in his voice tonight was very intimate and personal. Almost as if Van was just singing to one person, At times throughout the concert Vans vocals were so fragile, he could have been speaking the lyrics.
‘Talk Is cheap’ and ‘Mediocrity’ broke the romance and added some much welcomed spark and a change of tempo. Van even added an expletive at one point; however I’m not quite sure for whose benefit it was for. Maybe it was for the drummer, who was continuing to bare the brunt of Vans frustration.
‘In The Garden” was simply breathtaking and for me the moment where Van got rid of his demons, got into the music and began to enjoy himself. The climax of this song was AMAZING. Van rushed the beginning of the song quickly and got down to the meditation which faded out so that only Vans intense vocal could be heard. This is one of the best fade outs I have witnessed live; it reminded me of the famous fade from Listen to The Lion on “It’s too late to stop now”
Well maybe Van had been listening to the CD before the show because those immortal words became the mantra at the end of the best live performance of ‘All In The Game’ I have ever heard. Again Van seemed to rush the opening verses but just as I thought he would wrap up the song……he continued. Going passed the pylons; he seemed to be on the river of no return. On and on, whispering, growling, screeching and the glorious band rose to the occasion building and building to such a peak. The crowd cheered and for that moment the audience, band and Van were totally in that glorious place where it ain’t why, it just is!
How could you come down from this? Simples…..’Celtic Excavation’ provided the perfect come down. ‘Into the mystic’ surprised the audience.
A chirpy ‘Real Real Gone’ segued into ‘You Send Me’.
‘Ballerina’ was another highlight where Van taught us even more about the power of dynamics. He led band to a whisper only to suddenly bring them back up with a rollicking funky finish! Brilliant! Sheer brilliance!
I was really surprised to hear Beautiful Vision. Another good version and a solid vocal from Van.
As we neared the 9.15pm curfew I hoped Van would throw away the rule book. Alas it was not to be! All good things must come to an end and a rather strange ending it was as Van rushed through ‘Help me’ and came back for ‘Gloria’, only to shout at Paul Moran for not playing long notes…..” Play…..Long Notes……..LONG NOTES……..CHORDS!”
So we were treated to a fractious Van Morrison in Liverpool, he was in deep battle with his slings and arrows of outrageous fortune. Luckily we were left with some truly breathtaking music to remember!
-James Tennant
Alan O'Hare sent in the following review
It didn’t look good.
Empty seats dotted around, a medley opening the gig and a disinterested dance around Moondance. The sound was low too.
But then something happened.
Something that only occurs when Van Morrison is leading a band: magic in the night. The opening piano chords of Fair Play brought about a change and we were off…
The band picked up, Van sang with intensity and the song which opens Veedon Fleece so masterfully, stretched out into a joyful experience. Van twisted and turned the melody inside out and phrased “Geronimo” the way only he can.
The soundman must have picked up on the change of pace too, as all of a sudden the volume went up and the Liverpool Empire began to stir: Magic Time, Talk Is Cheap and Keep Mediocrity At Bay all got the old hall moving and it looked lime Van was starting to enjoy himself.
He moved the band closer together, pointed for solos and the night took off.
There were quirks too: calling for Crazy Love after Have I Told You Lately was mischievous; following the jazz-lounge couples favourite with a song that uses the same tricks but delivers so much more made me smile. It was a great version too.
As was All In The Game/You Know What They’re Writing About – with punchy horns, a funky tempo and fantastic singing from Van, overpowering it all with the vocals: “It’s too late to stop now…” he hollered towards the end to set spines tingling. Mind-blowing.
A new version of Into The Mystic followed with an extended horn intro and Van on the saxophone. It never really got going though, until the horns played that famous riff towards the end, whereas Real Real Gone and Ballerina were played pretty much straight and sounded much better for it.
Help Me was one too many blues on the night for this palette and Beautiful Vision didn’t really hit the spot but Gloria brought the house down to close.
Van Morrison’s singular vision remains and renders all discussions about his live performance redundant: it ain’t why, it just is.
And long may he run.
Setlist
Baby Please Don't Go
Here Comes The Night
Moondance
Fair Play
Magic Time
Have I Told You Lately
Crazy Love
Talk Is Cheap
Keep Mediocrity At Bay
In The Garden
All In The Game
Celtic Excavation
Into The Mystic
Real Real Gone->You Send Me
Ballerina
Beautiful Vision
Help Me
Gloria
Big Hand For The Band!
Paul Moore
Chris White
Dave Cleary
Paul Moran
